Well programmed,
this recording begins with the relatively light ‘filler’ material
– lighter in terms of musical style and content, but nothing
if not a worthwhile contribution to the catalogue. There isn’t
a great deal of information about the pieces on this CD in
the booklet, but I sentimenti di C.P.E. Bach was transcribed
from C.P.E. Bach’s 1787 composition, a ‘Fantasy for Keyboard’
with the same title. The transcriptions keep C.P.E. Bach’s
often quite explosive mannerisms, emphasising their contrasting
diversity in a Concerto Grosso format with solo flute
and harp often to the fore, but with plenty of meaty chunks
for the accompanying string orchestra. The playing is superb
– sensitive to the baroque idiom without striving for any
kind of artificially imposed ‘authenticity.’ Philippe Bernold
and Xavier de Maistre give complete virtuosic satisfaction,
and Henze’s richly colourful orchestration makes this a succulent
feast for the ear.
The two main works
are both by Karl Amadeus Hartmann, who, like Henze, wintered
the Nazi period in Germany and flourished as an artist on
its demise. Hartmann’s Concerto funèbre was premièred
in Switzerland in 1940, and uses recognisable musical quotes
from a Czech Hussite chorale and an anti-Tsarist song in the
fourth movement. Hartmann’s note in the margin of the manuscript
‘Written during the first days of the war: September/November
1939’ make the associations and intentions clear. Svetlin
Roussev’s solo violin isn’t overly spot-lit and becomes very
much part of the ensemble, enhancing a chamber music feel
to this performance. The whole effect is emotionally involving
and in places as heartfelt and disturbing as the Molto
adagio movement from Bartók’s contemporaneous ‘Divertimento.’
Also for strings
alone, Hartmann’s fourth symphony originally had a vocal finale
which was dropped in the 1947 revision. This work also reflects
the darkness and sombre mood felt by culturally sensitive
and creative people in this period of Germany’s history. The
opening 15 minute Lento assai – con passione is full
of open, desolate intervals – tremulando atmosphere and impassioned
but inconclusive moments of climax. The second Allegro
di molto unfolds with similarly intangible tonalities,
but with a stabbing violence and rhythmic fervour which is
most impressive. The final Adagio appasionato grows
from almost nothing, hinting at a final reward of harmonic
apotheosis, but drawing back from any ultimate tonal grounding.
Intense, drawn-out contrapuntal development carries the listener
through a ‘grand arch,’ the door quietly closing behind Hartmann’s
vision with a reference to the understated pizzicati with
which the movement began.
The Orchestre
d’Auvergne respond well to Arie van Beek’s conducting, and
you can sense an involvement with the music which brings out
the best in the players. The opera house acoustic is nice
enough, but provides an occasional ricochet effect from the
clearly vast and empty auditorium in front of the musicians,
who are positioned on stage. I don’t dislike the overall impression,
but there are one or two moments where the soundstage can
sound just a little (and I hesitate to use the word) ‘phasey’
– where the microphone array is possibly having to cope with
one reflection too many. This is however a minor point, and
like every recording the ear adjusts. There is certainly a
great deal of detail, and such ‘hot’ recording certainly shows
the talent of this orchestra to its best advantage. There
is some strong competition in Isabelle Faust’s ECM recording
which covers both of the Hartmann pieces on this disc, but
I have no hesitation in recommending this recording of some
fascinating and historically significant repertoire.
Dominy Clements
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